I see my role as a story teller. Sometimes there's a specific reason for making a piece. It can be a big story like the Matthew Bolton piece, that covered his life and interests, or it might be something very transient like a single heartbeat.
My work has dramatically evolved over the years. At the moment I work a lot more on a screen. I don't use sketchbooks like I used to.
Place can be quite important. For instance I've made very specific work such as the Haematology Centre. I live in Birmingham because I like it, but it doesn't really have any impact upon the development of my work as a maker. The important thing for me in terms of location has been the link with Redditch and VSM (which is the company that distributes Husqvama Viking and Pfaff sewing machines.)
I think that perhaps the profile of Birmingham makers isn't as invisible as it once was. Also, one of the problems that I think is happening is that technology is evolving into making. It's becoming such a part of art, that if you are outside academia, it's hard to keep up pace with that. I have been thinking of whether I want to go back into academia because I want to use that technology, and it's very difficult for me. How do you fund learning? That's a really difficult problem that I think makers have. I don't want to be the person who makes the same work for twenty years. I just think, "Aren't you bored!!??" I couldn't do that.